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AGGIELIFE
THE BATTALION
Friday, April 25,1
Dillon tries directing
Kyorld
rHE BAT r
By Justin Elias
KRT CAMPUS
NEW YORK _ When movie stars
become directors, they have the advantage
of calling in favors from their famous
friends, thereby packing an otherwise ordi
nary film landscape with celebrities.
Matt Dillon, who’s been acting since he
was 14, might have done that, too. He has
remained on good terms with his Brat Pack-
era co-stars, as well as his mentors: Francis
Ford Coppola, who celebrated Dillon’s
brooding teenage handsomeness in “The
Outsiders” and “Rumble Fish,” and Gus
Van Sant, who directed him in his first
mature role, in “Drugstore Cowboy.”
When he got his chance behind the cam
era, Dillon set out to capture a different
kind of landscape, one that has scarcely
been seen in movies in 40 years. “City of
Ghosts,” his debut as a director, explores
Cambodia — from its war-ravaged capital,
Phnom Penh, and its ancient temples, to a
netherworld of Western expatriates. Though
Dillon is the film’s lead, he gives ample
screen time to veteran international stars
Stellan Skarsgard, Gerard Depardieu and
James Caan.
“It was a wild, unstable place,” he said,
“but it also had a magical, spiritual quality,
expats -American, Australian,
European-and everybody seemed to be on
the lam in some way. Maybe not from the
law, but running from something.” He said
he wasn’t surprised to read that some of the
world’s most wanted criminals were
thought to be in Cambodia.
If Dillon himself was escaping some
thing, perhaps it was his own fame; in
much of Southeast Asia, nobody knew or
cared that he was an actor.
Much of what he saw during his travels
—decaying French colonial hotels and
resorts, seedy bars, and jungle-canopied
temples —seemed to him to have come out
of a story by Joseph Conrad, say, or John
Le Carre. The moody 1951 Carol Reed
movie based on Conrad’s “Outcast of the
Islands,” about Westerners getting decadent
in the East, also occurred to Dillon.
“I thought it would be a refreshing and
unique setting for a movie,” he said of
Cambodia. “The first idea was: A young
con man pays an unexpected visit to a
friend who’s into some shady business in
Cambodia.”
To realize the idea, he called on a friend,
Barry Gifford, the novelist and screenwriter
(“Wild at Heart”). “I’d never worked with
him before, but we liked the same books,”
Dillon said. “He’s interested in the under
belly of things.”
For four years, the two collaborated on
the script and shopped for financing. They
ran up against two big obstacles. The first
was a practical concern: he last Hollywood
movie to be filmed mainly in Cambodia
was “Lord Jim,” in 1964. The country only
recently opened up again to Western film
makers; 200l’s “Lara Croft: Tomb Raider”
made brief but spectacular use of the
Angkor Wat temples.
“Nobody wanted to make this film, and
they certainly didn’t want to make it in
Cambodia,” Dillon said. “There’s no infra
structure for filmmaking there.”
Studios were also resistant to the idea of
Dillon being director, co-writer and star.
“Everything gets used against you,” he said.
“That you are a first-time director - that’s
one strike. It didn’t seem to matter that as
an actor you spend so much time on film
sets that you are always learning.”
Though any actor might face the same
By Bi
THE ASS
Matt Dillon has taken on the role of director with his new movie "City of Ghosts.’
resistance from financiers, Dillon’s screen
image wouldn’t convince anyone that he
was a quick study. From the leather-jacket
ed juvenile delinquent roles of his teens to
his genially clueless characters in “Singles,”
“To Die For” and “There’s Something
About Mary,” Dillon has usually been cast
as a hunky but dim hero.
That image has dogged him for years:
Interviewers have had a hard time avoiding
the subject of the actor’s looks (no matter
what movie he’s in, he seems to be wearing
a tight, white sleeveless undershirt) and his
private life. He is, famously, the ex
boyfriend of Cameron Diaz and several
fashion models.
But to focus only on those aspects is to
gloss over more interesting points. Here’s
an actor who cites Spencer Tracy and Gene
Hackman as influences, and a director who
hopes to emulate not Quentin Tarantino, but
Coppola, Federico Fellini and “any 1970s
director who likes dream sequences. Very
unfashionable.”
Still, the cover-boy issue persists.
“Matt Dillon’s moody rebel image was
probably defined by those hysterical teenage
melodramas, ‘Rumble Fish’ and ‘The
Outsiders,”’ says Andrew Pulver, film editor
of England’s Guardian newspaper and co
author of the book “Brat Pack Confidential,”
which devotes a chapter to Dillon. “The
main thing about him in those movies was
that he was very good-looking, with an inar
ticulateness that fit those characters.
“Unfortunately, that meant that he had
one note as an actor, being a brooding guy
who couldn’t quite say what was on his
mind. But it was perfect for the teen movies
of that time.”
Other critics saw him as a throwback to
the iconic actors of the 1950s, like James
Dean and Montgomery Clift, who gave
intense, emotional performances that sug
gested a real-life inner turmoil. Indeed,
Dillon studied with Lee Strasberg and idol
ized Clift, A1 Pacino and Robert De Niro.
Unlike Tom Cruise, Ralph Macchio and
Emilio Estevez, who also appeared in “The
Outsiders,” Dillon sought out nonmain-
stream roles, notes Pulver. “With
"Drugstore Cowboy,’ he showed he’d rat
matured far beyond those early roles, ami
beyond many actors of his age group,
said. “And the fact that he was abletoa
rize, in ‘Singles’ and 'There’s Somethin:
About Mary,’ that aura of slackjaw
he’d once projected, was really smartof
him.” Pulver credits Dillon for “seeking
reasonably classy actor-driven projects
interesting directors.”
Dillon’s career progressed through Ik
1990s with unflashy, sometimes critical
hailed performances in independentfili
He directed some music videos forftieiil
and more important, according to him.
remained close to a network of creative
people in New York City.
“I’m from Westchester, and I consider
myself a New Yorker,” says Dillon. “Thi
has always been my home.”
Through a writer friend, he met“0z"
producer Tom Fontana, who asked himte
direct an episode of the HBO prison drat.
To Fontana, hiring a first-time actor-i
director was not a risk; Kathy Bates,®
Palminteri and Steve Buscemi had all
worked on “Oz.”
“One thing that’s good about actors
becoming directors is that they speak the
same language as the cast, and that cutsf
a lot of extra discussion,” Fontana said
“They can discuss things as peers.”
Dillon, he says, arrived at work will
“the best attitude a director can have, h
had a lot of great ideas, and also the ini
gence to listen to people. You want some’
one who will be practical and say, ‘This
isn’t working. Let’s try something else. 1 '
If there are more details, he won’t shi
them. Instead, he indicates the ebony and
gold amulet.
The way the hands are positioned,
supposed to protect you from fear. 1c
n’t wear it while we were filming,bit
put it on afterward and I haven’t taken it
off since.”
immmem
Health and Kinesiology
Dance
Dtmce Concert Featuring
Minor Students and the EmSu Company
April 27, 2G03 7:30 p.m.
Rudder Theater
Free Admission
Donations greatly appreciated
Sponsored by the Health and Kinesiology Department and No Della Alpha
Congratulations,
B-Co
Fightin’ Texas Aggie Band
upon your recognition at Parent’s Weekend Review I
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Sverrisdottir:
2002-2003 General George F. Moore Award
The Superior Unit in the Corps of Cadets
in Academies, Athletics, Inspections, Retention and Recrultinfl
Second Place Jouine Award for Academic Excellence
Most Outstanding Scholastic Unit in the Band
Most Outstanding Platoon in the Band - 3rd Platoon
Most Outstanding Platoon in InfantryBand - 1st Platoon
‘Wear the white chord with pride, B-Co, and Gig 'em!'
We are proud of you!
The Fish Parents
of B-Company
Fightin’ Texas Aggie Class of 2006
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